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Cascade Serpentine Anopistographique
cinéma 30.05.13 127 cinéma 106 5, rue La Boétie - 75008 Paris - tél. 33 (0)1 47 42 78 01 - fax. 33 (0) 1 47 42 87 55 [email protected] - www.binocheetgiquello.com Jean-Claude Binoche Commissaire-priseur judiciaire - Alexandre Giquello Commissaire-priseur judiciaire et habilité s.v.v. agrément n°2002 389 conditions de vente La vente se fera au comptant en euros. Les acquéreurs paieront en sus des enchères par lot, les frais et taxes suivants : 19,23 % HT ( 23 % TTC). Les enchères suivent l’ordre des numéros du catalogue. Les enchérisseurs domiciliés hors de l’Union européenne ont la possibilité de conclure préalablement à la vente une convention de mandataire sous douane avec la société Ceros afin de ne pas devoir avancer la TVA française. descriptions. Les dimensions et les dates des tirages ont été vérifiées le mieux possible selon les ressources disponibles à ce-jour. L’état des pièces est complété d’une reproduction la plu complète et fidèle possible, les expositions permettent un examen préalable et recommandé. estimations. La mise à prix uniforme à 500 euros ne peut être considérée comme impliquant la certitude que le bien sera vendu à cette somme : ce sont les enchérisseurs qui vont fixer la valeur des épreuves d’un artiste, puis faire évoluer cette valeur. Les réserves éventuelles sont fixées à ce montant de cinq cents euros. ordres d’achats. Tout enchérisseur qui le souhaite peut faire une offre d’achat par écrit ou s’inscrire pour enchérir par téléphone. Les enchères par téléphone sont un service gracieux rendu aux clients qui ne peuvent se déplacer. -
AFI PREVIEW Is Published by the Transformation from Dour Soviet AFI 100 Years...100 Songs American Film Institute
CONTENTS BEAUTIFUL DYNAMITE: THE FILMS OF CYD CHARISSE 2 Beautiful Dynamite: The Films of Cyd Charisse 4 Charlton Heston Remembered 7 Korean Film Festival DC 2009, Part 2 8 Signore & Signore: Leading Ladies of Italian Cinema 10 Best of the 2009 New African Photo courtesy of Everett Collection Films Festival May 9 - June 30 11 Mid-Atlantic Regional Showcase Cyd Charisse, one of the most distinctive names in show busi- The 48 Hour Film Project ness, was born Tula Ellice Finklea Coming Soon in 1921 in Amarillo, TX. After using a succession of faux- 12 The Films of Danny Boyle Russian names while touring with the Ballet Russe de Monte Carlo, 14 SILVERDOCS and a single screen credit under About AFI the name Lily Norwood in 1943, she settled on the moniker that 15 Repertory Calendar – Full Schedule will live forever in movie lore. at AFI.com/Silver She’s Gene Kelly’s mysterious dream girl in SINGIN’ IN THE 16 2009 DC Caribbean Filmfest RAIN, and a more magical kind of fantasy figure for him in BRIGADOON. For Fred Astaire, LOOK FOR THE she was an equal talent who AFI member passes accepted for inspired him to new heights late designated screenings. To find out how to Photo courtesy of Everett Collection in his career, Dancing in the Dark SINGIN’ IN THE RAIN become a member of AFI, see page 14. with him in THE BAND WAGON, #1 on AFI Greatest Movie Musicals and dancing out her character’s #5 on AFI 100 Years…100 Movies AFI PREVIEW is published by the transformation from dour Soviet AFI 100 Years...100 Songs American Film Institute. -
REVIEW ARTICLE New Approaches to Neorealism in Italian Cinema Damiano Garofalo*
Modern Italy, 2020 Vol. 25, No. 3, 333–340, doi:10.1017/mit.2020.27 REVIEW ARTICLE New approaches to neorealism in Italian cinema Damiano Garofalo* Sapienza University of Rome, Rome, Italy ‘Rome, Open City’, edited by LOUIS BAYMAN,STEPHEN GUNDLE and KARL SCHOONOVER. Special issue, Journal of Italian Cinema & Media Studies 6 (3) (2018), ISSN 20477368 Roma e il cinema del dopoguerra. Neorealismo, melodramma, noir,byLORENZO MARMO, Rome, Bulzoni, 2018, 228 pp., €18.00 (paperback), ISBN 9788868971120 Landscape and Memory in Post-Fascist Italian Film: Cinema Year Zero,byGIULIANA MINGHELLI, New York, Routledge, 2013, xii + 264 pp., £36.99 (paperback, 2016), ISBN 9781138233843 Neorealism and the ‘New’ Italy: Compassion in the Development of Italian Identity, by SIMONETTA MILLI KONEWKO, New York, Palgrave Macmillan, 2016, xii + 272 pp., £74.99 (hardback), ISBN 9781137541321; published in Italian as L’Italia neorealista. Compassione e identità nazionale nel dopoguerra, Rome, Carocci, 2018, 284 pp., €27.00 (paperback), ISBN 9788843089604 In an article with the challenging title ‘Against Realism’, Alan O’Leary and Catherine O’Rawe (2011) argued that Italian cinema studies needed to move forward. In their view, the abuse of ‘real- ism’ as a prescriptive as well as descriptive term had stunted research into Italian cinema of the postwar period, channelling it exclusively towards neorealist trends and thus devaluing study of the other forms, movements, auteurs and productions that emerged during the same period. This historiographical tendency, which Christopher Wagstaff aptly called the ‘institution of neo- realism’ (2007, 37), encouraged the development of reverential study and by the 1960s had assumed the form of a canon. -
Lefã¨Bvre and Neorealist Cinematic Space As Practice
1 DOI: 10.14324/111.444.amps.2014v5i4.001 Title: Framing the Real: Lefèbvre and Neo- Realist Cinematic Space as Practice David Brancaleone Architecture_media_politics_society. vol. 5, no.4. October 2014 Affiliation: Limerick School of Art and Design, Ireland Abstract: In 1945 Roberto Rossellini’s Neo-realist Rome, Open City set in motion an approach to cinema and its representation of real life – and by extension real spaces – that was to have international significance in film theory and practice. However, the re-use of the real spaces of the city, and elsewhere, as film sets in Neo-realist film offered (and offers) more than an influential aesthetic and set of cinematic theories. Through Neo-realism, it can be argued that we gain access to a cinematic relational and multi- dimensional space that is not made from built sets, but by filming the built environment. On the one hand, this space allows us to “notice” the contradictions around us in our cities and, by extension, the societies that have produced those cities, while on the other, allows us to see the spatial practices operative in the production and maintenance of those contradictions. In setting out a template for understanding the spatial practices of Neo-realism through the work of Henri Lefèbvre, this paper opens its films, and those produced today in its wake, to a spatio-political reading of contemporary relevance. We will suggest that the rupturing of divisions between real spaces and the spaces of film locations, as well the blurring of the difference between real life and performed actions for the camera that underlies much of the central importance of Neo-realism, echoes the arguments of Lefèbvre with regard the social production of space. -
Verleihkopien
Mitglied der Fédération D FF – Deutsches Filminstitut & Tel.: +49 (0)611 / 97 000 10 www.dff.film Wiesbadener Volksbank Internationale des Archives Filmmuseum e.V. Fax: +49 (0)611 / 97 000 15 E-Mail: wessolow [email protected] IBAN: D E45510900000000891703 du Film (FIAF) Filmarchiv BIC: WIBADE5W XXX Friedrich-Bergius-Stra ß e 5 65203 Wiesbaden 8 / 2019 Verleihkopien Eine Auswahl aus unserem Archiv-Bestand Wir bieten16mm und 35mm Filmkopien, sowie DVDs und DCPs für den nichtkommerziellen Verleih an. Die angegebenen Preise verstehen sich pro Vorführung (zzgl. 7% MwSt. und Transportkosten). * Preis ohne Vorführrechte; Details erfragen Sie bitte im Filmarchiv Darüber hinaus stehen Ihnen noch weitere Filme zur Verfügung. Auskunft über den technischen Zustand der Kopien erhalten Sie im Filmarchiv. Erläuterung viragiert = ganze Szenen des Films sind monochrom eingefärbt koloriert = einzelne Teile des Bildes sind farblich bearbeitet ohne Angabe = schwarz/weiß restauriert = die Kopie ist technisch bearbeitet rekonstruiert = der Film ist inhaltlich der ursprünglichen Fassung weitgehend angeglichen Kurz-Spielfilm = kürzer als 60 Minuten russ./ eUT = russisch mit englischen Untertiteln dtUT = mit deutschen Untertiteln dt.vorh./engl.vorh. = deutsche oder englische Zwischentitel-Liste vorhanden Einige der Stummfilme sind auch mit Musik vorhanden Zwischen- Stummfilm Titel / Land / Jahr Regie / Darsteller Titel / Format Preis € Tonfilm Sprache Abend der Gaukler Regie: Ingmar Bergman GYKLARNAS AFTON Tonfilm Darsteller: Harriet Andersson Hasse Ekman deutsch -
Global Neorealism. the Transnational History of a Film Style
GLOBAL NEOREALISM This page intentionally left blank GLOBAL NEOREALISM The Transnational History of a Film Style Edited by Saverio Giovacchini and Robert Sklar university press of mississippi t jackson www.upress.state.ms.us The University Press of Mississippi is a member of the Association of American University Presses. Copyright © 2012 by University Press of Mississippi All rights reserved Manufactured in the United States of America First printing 2012 ∞ Library of Congress Cataloging-in-Publication Data Global neorealism : the transnational history of a film style / edited by Saverio Giovacchini and Robert Sklar. p. cm. Includes bibliographical references and index. ISBN 978-1-61703-122-9 (cloth : alk. paper) — ISBN 978-1-61703-123-6 (ebook) 1. Realism in motion pictures. 2. Motion pictures—Italy—History—20th century. I. Giovacchini, Saverio, 1963– II. Sklar, Robert. PN1995.9.R3G56 2011 791.43’612—dc22 2011015992 British Library Cataloging-in-Publication Data available For Ingalisa si vales ego valeo For Nevona, Nadav, Cedar, and Jake and To the memory of Robert Sklar, maestro e amico This page intentionally left blank CONTENTS Acknowledgments ix Introduction The Geography and History of Global Neorealism 3 saverio giovacchini and robert sklar PART 1 Before the (Neorealist) Revolution 19 vito zagarrio Soviet-Italian Cinematic Exchanges, 1920s–1950s From Early Soviet Film Theory to Neorealism 37 masha salazkina The Role of Documentary Film in the Formation of the Neorealist Cinema 52 luca caminati PART 2 “The Exalted Spirit of the Actual” -
Framing the Real: Lefèbvre and Neo
Title: Framing the Real: Lefèbvre and Neo- Realist Cinematic Space as Practice Authors: David Brancaleone Architecture_media_politics_society. vol. 5, no.4. October 2014 Fig. 1. Rossellini’s Paisà (1946) goes where “transient life manifests itself most conspicuously”. The viewer is made to wander through Naples in a fiction. Its mimesis enables the GI to describe to Pasquale the skyscrapers of New York, while sitting on a pile of rubble. Their seemingly erratic trajectory confronts the viewer with the real city. The wandering ceases when faced with a crowd of displaced people actually living in the caves of Mergellina who become fleeting screen presences in the Naples episode’s shocking denouement. Introduction In 1945 Roberto Rossellini’s Neo-realist Rome, Open City set in motion an approach to cinema and its representation of real life – and by extension real spaces – that was to have international significance in film theory and practice.1 However, the re-use of the real spaces of the city, and elsewhere, as film sets in Neo-realist film offered (and offers) more than an influential aesthetic and set of cinematic theories.2 Through Neo-realism, it can be argued that we gain access to a cinematic relational and multi-dimensional space that is not made from built sets, but by filming the built environment. On the one hand, this space allows us to “notice” the contradictions around us in our cities and, by extension, the societies that have produced those cities, while on the other, allows us to see the spatial practices operative in the production and maintenance of those contradictions. -
MAISON JEAN VILAR Vidéothèque Arts Du Spectacle
MAISON JEAN VILAR Vidéothèque Arts du spectacle Projections gratuites Sur rendez-vous : Tél. 04 90 86 59 64 Du mardi au vendredi : 9h – 12h / 13h30 – 17h30 Le samedi : 10h – 17h Maison Jean Vilar – 8 rue de Mons (face à l’Hôtel de Ville) – Avignon 1 La vidéothèque arts du spectacle de la Maison Jean Vilar Créée en 1980, cette vidéothèque répond au besoin souvent exprimé du public de pouvoir consulter des archives audio-visuelles du spectacle. Le fonds a été constitué à l'origine par convention signée entre l'Institut National de l'Audiovisuel (I.N.A.) et l'Association Jean Vilar. Renouvelée périodiquement, la convention prévoit la cession de droits par l'I.N.A. à l'Association pour : - la conservation à titre d'archives - la diffusion exclusive dans les emprises de la Maison Jean Vilar - l'apport complémentaire à des expositions ou manifestations culturelles organisées dans le cadre des activités de la Maison Jean Vilar. Cette cession est donc assortie de l'interdiction de prêt à l'extérieur. D'autres sources d'accroissement sont venues s'ajouter depuis 1980 : chaînes de télévision, producteurs, dons de compagnies... Le fonds comprend plus de 1000 titres : spectacles de théâtre, danse, marionnettes, mime, cirque, théâtre musical, music-hall, cinéma et divers sujets (activité culturelle). Projections (individuellement ou en groupe) sur rendez-vous : Tél. 04 90 86 59 64 La Maison Jean Vilar est ouverte du mardi au vendredi de 9h à 12h et de 13h30 à 17h30, le samedi de 10h à 17h. 2 Signification des cotes de classement : ACT = Activité culturelle (Festival d'Avignon et sujets divers) CIN = Cinéma CIR = Cirque DAN = Danse MAR = Marionnettes MHV = Music-hall Variétés MIM = Mime MUS = Musique THE = Théâtre THM = Théâtre musical Le numéro qui suit les lettres signifie : 1 = Intégrale (spectacle, pièce de théâtre, chorégraphie,film) 2 = Documentaire Sont indexés (à titre d'exemples, liste incomplète) : les auteurs, les metteurs en scène, les réalisateurs (en qualité de metteurs en scène), les chorégraphes.. -
REVIEW ARTICLE New Approaches to Neorealism in Italian Cinema Damiano Garofalo*
Modern Italy, 2020 Vol. 25, No. 3, 333–340, doi:10.1017/mit.2020.27 REVIEW ARTICLE New approaches to neorealism in Italian cinema Damiano Garofalo* Sapienza University of Rome, Rome, Italy ‘Rome, Open City’, edited by LOUIS BAYMAN,STEPHEN GUNDLE and KARL SCHOONOVER. Special issue, Journal of Italian Cinema & Media Studies 6 (3) (2018), ISSN 20477368 Roma e il cinema del dopoguerra. Neorealismo, melodramma, noir,byLORENZO MARMO, Rome, Bulzoni, 2018, 228 pp., €18.00 (paperback), ISBN 9788868971120 Landscape and Memory in Post-Fascist Italian Film: Cinema Year Zero,byGIULIANA MINGHELLI, New York, Routledge, 2013, xii + 264 pp., £36.99 (paperback, 2016), ISBN 9781138233843 Neorealism and the ‘New’ Italy: Compassion in the Development of Italian Identity, by SIMONETTA MILLI KONEWKO, New York, Palgrave Macmillan, 2016, xii + 272 pp., £74.99 (hardback), ISBN 9781137541321; published in Italian as L’Italia neorealista. Compassione e identità nazionale nel dopoguerra, Rome, Carocci, 2018, 284 pp., €27.00 (paperback), ISBN 9788843089604 In an article with the challenging title ‘Against Realism’, Alan O’Leary and Catherine O’Rawe (2011) argued that Italian cinema studies needed to move forward. In their view, the abuse of ‘real- ism’ as a prescriptive as well as descriptive term had stunted research into Italian cinema of the postwar period, channelling it exclusively towards neorealist trends and thus devaluing study of the other forms, movements, auteurs and productions that emerged during the same period. This historiographical tendency, which Christopher Wagstaff aptly called the ‘institution of neo- realism’ (2007, 37), encouraged the development of reverential study and by the 1960s had assumed the form of a canon. -
Understanding MOVIES
Louis Giannetti Understanding MOVIES Thirteenth Edition Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montréal Toronto Delhi Mexico City São Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo Editorial Director: Craig Campanella This book was designed by Editor in Chief: Ashley Dodge Laurence King Publishing Ltd, London Senior Acquisitions Editor: Melissa Mashburn www.laurenceking.com Editor: Ziki Dekel Editorial Assistant: Megan Hermida LAURENCE KING LAURENCE KING LAURENCE KING LAURENCE KING Executive Marketing Manager: Kelly May RED LOGO WHITE LOGO ProductionBLACK LOGO Manager:BLACK Simon LOGO Walsh Design:OVERPRINT Jo Fernandes KNOCK OUT Marketing Coordinator: Theresa Graziano Photo Research: Phil Moad, David Kent Senior Managing Editor: Linda Behrens Images: Kobal Collection/Picture Desk Project Manager: Raegan Heerema Senior Operations Supervisor: Mary Fischer Operations Specialist: Mary Ann Gloriande Cover Art: ? Director of Digital Media: Brian Hyland Senior Digital Media Editor: Lisa Dotson Digital Media Project Manager: Michael Granger Full-service Project Management and Composition: ? Printer Interior: Courier/Kendallville Printer Cover: Lehigh-Phoenix Color/Hagerstown Text Font: Birka, Pisa Copyright © 2014, 2011, 2008, 2005 by Pearson Education, Inc. All rights reserved. No part of the publication must be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, or otherwise, without the prior written permission of the publisher. Printed in the United States. Library of Congress Cataloging-in-Publication Data Giannetti, Louis D. Understanding movies / Louis Giannetti.—12th ed. p. cm. Includes bibliographical references and index. ISBN 978-0-205-73754-3 (alk. paper) 1. -
Visconti's Senso and the Evolving Italian Cinema
Visconti’s Senso and the Evolving Italian Cinema BY JOHN BENNETT A sea change occurred in the tenor of Italian cinema in the twenty-five years between the end of World War II and the close of the 1960s. The Rome of Roberto Rosselini’s Open City (1945) is austere and naturalistic; characters in the war-torn city desperately try to resist the German forces and just as desperately try to eek out humble lives from meager resources, as many ordinary people might have done in real life in Rome during the war.1 The Rome of Federico Fellini’s Satyricon (1969), however, is spectacular and ancient and strange; the characters behave outlandishly and opulently within their highly stylized environment.2 The Valastros, the poor family struggling in the fishing town of Aci Trezza depicted in Luchino Visconti’s La Terra trema (1948) are a far cry from the powerful, destructive Von Essenbecks, the wealthy central family in Visconti’s later work, The Damned (1969).3 The contrast in these films typifies the evolution that Italian cinema underwent from the neorealist films produced in the years immediately following World War II to the more stylized auteur films made in the late 1950s and throughout the 1960s. 1 Open City,dir. Roberto Rossellini, perf. Anna Magnani, Aldo Fabrizi, and Marcello Pagliero, Excelsa Film, 1945. 2 Satyricon, dir. Federico Fellini, perf. Martin Potter, Hiram Keller, Max Born, and Capucine, Produzioni Europee Associati, 1945. 3 La Terra Trema, dir. Luchino Visconti, perf. People of Aci Trezza, Universalia Film, 1948. The Damned, dir. Luchino Visconti, perf. -
Vu Du Canapé
Vu du canapé The Paradine case Le procès Paradine, Alfred Hitchcock, usa, 1948, 114 mn Hitchcock mineur, ce qui veut seulement dire qu’il n’est pas génial. La faute en revient au producteur Selznick qui, à son habitude – voir Leslie Howard dans Gone with the wind (p. 476) – impose des distributions aberrantes : dans l’op- position entre Gregory Peck et Louis Jourdan, le premier aurait dû être plus aristocratique, sans accent américain (genre Ray Milland), l’autre plus peuple (genre Joseph Cotten). Charles Laughton est, quant à lui, parfait dans son rôle de juge pendeur, une espèce de vieux cochon affriolé par l’épouse de Gregory Peck (Ann Todd, très bien elle aussi). Notorious (p. 982) est le seul Hitchcock/Selznick à être génial. Mais c’est l’exception qui confirme la règle : Selznick avait dû vendre, clefs en main, le projet à la rko, ce qui l’a empêché de remplacer Cary Grant par Joseph Cotten. La scène d’incarcération annonce celle de The wrong man (p. 1282) : c’est une protestation contre le fait de disposer de la liberté d’autrui, même celle d’une criminelle (Alida Valli). C’est dans ce type de détail que s’exprime le catholicisme de Hitchcock – mieux que dans I confess (p. 1229) plombé par le flash-back central. Une chambre en ville Jacques Demy, France, 1982, 88 mn Avec les mêmes partis pris que Les parapluies de Cherbourg (p. 129), le ton doux-amer ayant laissé place au tragique. Michel Legrand n’est pas au rendez- vous, mais la musique de Michel Colombier sait être touchante, notamment dans les scènes de groupe – piquets de grève, etc.